'Fashion is my religion': designer Shravan Kummar on bringing sustainable line Old Soul Fashion and tapping into menswear with Ekapaat 

South India's pioneering fashion designer, Shravan Kummar is a name synonymous with Indian handloom. The fashion revivalist has made the country proud several times on the global stage by bringing the glory of languishing weaves on the ramps of New York, Dubai, Vancouver, London, Australia and more. This year, he marks his third decade in fashion after his eponymous label Shravan Studio first opened its doors to Hyderabadis back in 1993. Every passing year, he finds a new way to re-invent traditional weaves and this time, the designer has come up with his sustainable clothing line Old Soul Fashion (OSF) that reimagines traditional crafts with a la mode Western sensibilities. The line is based in Chicago with its Indian arm in The City of Pearls. At the heart of it lies the deft handwork of hundreds of artisans from India led by Shravan’s creative vision to use centuries-old hand-employed techniques instead of automation. So manuals and machines take a backseat and hand-powered looms, organic threads, natural dyes, carved wooden blocks powered by commitment to craft takes a centrestage at OSF. The result is limited batch statement pieces that show a comeback of Indian textiles and crafts on foreign soil in the form of handmade jackets, blazers, pant-suits and more.

We speak to the designer about the innovative concept where Indian fashion meets a modern reimagination, “The idea is to put forward a collection which is sustainable for the customers and is also made of Indian handlooms. We have used handlooms like Brocade, Badru, Kalamkari, Mata Ni Pachedi, Ikat, Patola, Sambalpuri Silks and much more. We have tried to encapsulate the essence and presence of weaves from all parts of India.” The fashion line is not simply an example of East meets West design aesthetic. They go beyond it to defy the euro-centric ethos of fashion underscoring that even the most hyper-local weaves can be ultra modern. “ It is tailored for people who want to collect history by investing in the rich heritage of crafts and weaves. We have given it such a unique contemporary spin that it can be worn by 18 to 80 year olds,” the designer mentions. The pieces are made of precious repurposed fabric that not only command attention for their lustre and exuberance but also green fashion. The designer tells us, “We have worked with natural and locally sourced dyes that are Azo free. We have used indigenous colours like Indigo from Lucknow, two-tier colours from Gujarat and others from Indore and Kerala. They are free from toxic compounds.”

Given the collection is handcrafted by artisans, we asked him about his views on adopting artisan clusters. “Adopting the artisan clusters will lead to the development of the handloom industry. With a wide range of perspective among the designers, each cluster can be encouraged to push their craft in a new direction with numerous possibilities in expanding the horizon. Economically, it's a win-win situation. The weaver gets his due recognition and the designer will be able to push the market internationally which is economically feasible. We train the artisans to be adaptive to the current design features of the brand. However, we mostly focus on polishing the existing techniques as most of the clusters associated with the brand are nearly on the verge of extinction. I encourage only hand woven fabric, less tech based learning.”

Heading the handloom way A lover of vintage saris, a rivalist of weaves, and a couture designer, Shravan breathes fashion for life. “It is nothing but my religion. I was born with it,” he iterates in our conversation. “I follow the principle of fashion where handloom is of vital importance — the world of which is so beautiful and huge. I'm still learning about this field, trying to revive weaves and get back to our roots. I'm trying to diversify the weaves from their original format and that process is met with discovery. Most of the handloom crafts that I revive are stories wrapped in the warp and weft that I want to explore.” Owing to this passion, his career took a drastic turn during his teenage days when he opted out of a medical college at the age of 17 to pursue fashion from the London School of Fashion Design. Returning from there and brimming with ideas to change the way the world sees Indian fashion, he opened his label Shravan Studio in 1993. Since then, the studio has produced numerous collections that have revived the beauty of Kalamkari, Ahmedabadi craft Mata Ni Pachedi and not to forget Telangana’s weaves like Gollabhama, Venkatagiri, Mangalgiri and Narayanpet.

“I am still going through my childhood because I am still learning a lot of things.Weaves or silhouettes are like a story to me. When I am recreating or reviving them, I feel like a storyteller,” he shares about his love for silhouettes. Currently, the designer is working closely with Nandagiri and Manipuri weaves and is trying to revive weaves from Solapur and Hampi that are not very recognised but “have a character and a legacy” to build on. Adding about the kind of fashion he wants to create, he tells us, “I aim to keep India as India in all its cultural essence and form with the help of traditional weaves. I am trying to learn about diverse crafts. They remind me of my roots and give me a sense of belongingness. And saris are a great way to glorify and recreate these weaves. Ours is a country that has over 366 different styles of draping a sari, so why not invest in creating the magic of six yards? Save a sari and save a weaver!”

The royal couturier
The designer’s couture sensibilities are leaned towards showcasing the rich tapestry of royal weaves. From his bridal wear couture edit Anubandham inspired by noblewomen like Maharaj Kumari Lalitarani Devi of Burdwan, to his latest drop Ekapaat tailored for the grooms inspired by the pageantry of royal men like Sir Pratap Singh Maharaja of Idar — his couture launches meld Indian craftsmanship with regality of the bygone era. He adds about Ekapaat, “It’s all about the stories of royal men and their kingliness. It is also one of the names of Lord Vishnu.” In South India, the groom is considered to be Vishnu Murti and the daughter is considered to be Lakshmi and in certain communities, she is not allowed to touch the elder's feet while the sons can touch. So Ekapaat’s beauty signifies that you are married to Lord Vishnu whose spirit is embodied in the groom.”

The designer has used Kalamkari craft form which as per him is a creative vehicle to epitomise God in different forms. He elaborates, “India has more than three crores of gods and goddesses. We have a god for every particle of nature. Our country is all about that divine connection with a spiritual entity. We have tried to encapsulate this connect with the power above all of us through vibrant motifs and Kalamkari in Ekapaat.” This cultural sensibility has attracted brides, grooms and celebrities like Aishwarya Lekshmi, Rashmika Mandanna, Anushka Shetty, Shriya Saran and more to flaunt his creations. Telling us what makes his couture a top preference for brides and grooms, the designer shares that it’s their interest to invest in heirloom worthy pieces. “They want an ensemble that has an interesting backstory. They want to add value to their trousseau when it is passed to generations. So those who come with an intention of selecting a story for their special day/s, are the ones who visit our studio,” he tells.

Local to global
Over the years Shravan’s studio has echoed his design philosophy of bringing biodegradable, skin-friendly and heritage crafts to the fore. He has taken local crafts to global stage and OSF is the latest manifestation of that. "The collection is launched with an aim of promoting Indian ethnicity in the USA market. Yes, few elements are taken into consideration after researching the saleability in the USA but the outfit at a glance depicts the craftsmanship of Indian weaves and values,” the designer shares. In the past too, the designer has been a flagbearer of showing the beauty and versatility of Indian weaves on international fashion shows.

In 2017, he represented India at International Eco Fashion Week held in Australia. The international community was awe-inspired to see how a barely known textile from Gujarat called Mata Ni Pachedi — used to adorn temple idols -— embodied the unique heritage of India and was mad of natural fibres that let it compete with other sustainable fabrics showcased at the fashion week. Last year, Shravan took his collections of limited weaves to Houston, Jamaica, New Jersey and Dallas where the global audience imbibed the knowledge of India's weaves. While designers usually go to foreign lands to get inspiration, Shravan looks inward towards his country.

“Even if I am not designing, I am still designing. I enjoy it. I don’t go and ask for a holiday because it is like I am holidaying everyday. My studio is never off, we work 365 days. That’s because we party everyday. This is our party (laughs)! People might travel the world for inspiration but I come back to India. There is so much to learn about our own country and the day I am not learning, I’d consider myself dead,” he tells on an elated note. He plans to educate fashion students abroad and is invited for guest lectures in ivy league varsities in Singapore, Korea and Europe.

Mail: priyamvada@newindianexpress.com
Twitter: @RanaPriyamvada